I know quite a bit about them and want to spend more time with them, one of my favourite things is that your opinion is shared by many, which is what makes them so cheap.
People like to have the latest and greatest, which means I can pick up the bargains. I don't believe recordings have really got better sounding in the last 60 years, just different.

Some do have high demands when it comes to energy, some don't (my desk was from an O.B. truck that was designed to be powered entirely from two 13 amp sockets). Replacement power supplies are available which can considerably improve the situation.
Switches and pots don't have a "shelf life" really, they wear out, like tyres on a car. Would you sell your car because the tyres wore out?
My current console has broken down once in about 10 years of work in a professional environment, many less times than my computer has spat the dummy in that time, and I was still able to pull some channels and finish the session.

There certainly were engineers using gear from the 60's and 70's in the 80's.
A SSL 4000G was not something an small business could afford often so they would use what they could get. Just like now.

Motives for upgrading are not often based around the sound quality of a piece of equipment, new gear was/is bought in to; add features, attract clients with the latest gadgets, spend money that would otherwise go to the taxman, the list goes on....

If you don't need the latest and greatest you don't need to chase the upgrade cycle, pick and choose what you like.
If you like new stuff, have at it....
If you like vintage gear, it's all out there at mostly reasonable prices (of course there will always be some pieces that are hugely overpriced but on the whole used is cheaper) I try to buy equipment that will either hold it's value or appreciate.

The only way I can afford to have a studio full of top of the range equipment is to buy used, if properly maintained things don't sound worse as they get older.
You cant get a preamp that sounds "better" than the ones on my desk, just different and it was made in the 80's. Newer doesn't automatically mean better.

Anyway, keep buying the new stuff, someone has to so I can get the cast offs at a very reasonable price...... I hope none of this has changed your mind.
Maybe I shouldn't post this..... Move along, nothing to see here..... You're selling your old gear? Won't be worth much, I'll take it off your hands, it will just be a pain to get rid of....

A very legitimate rebuttal Alex.

I am concerned with the room first, microphone placement next and lastly committing sounds to DAW in as few channels as possible with proper levels in and out.

Having set up many with very nice performing analog consoles the feedback can be disappointing. One place had a very nice fixed up Soundcraft 40 input 8000, the old live console from our "Belly Up Tavern" here in SD.

The kids couldn't care less about analog. They all wanted PC based Pro Tools with full editing and had zero interest in that fine console. It sat unused until it was sold off.

Having set up many with very nice performing analog consoles the feedback can be disappointing. One place had a very nice fixed up Soundcraft 40 input 8000, the old live console from our "Belly Up Tavern" here in SD.

The kids couldn't care less about analog. They all wanted PC based Pro Tools with full editing and had zero interest in that fine console. It sat unused until it was sold off.

Yes, at every show I have demonstrated hot swapping of modules. In the design of the Series 88, protection has been added to prevent huge voltage surges that would destroy most competitor modules. Now, most would say, who would even think of hot swapping...but I can think of many situations that require it.

While it is the last resort, you can do it, but I would always tell you if possible, lower the volume!

Yes, at every show I have demonstrated hot swapping of modules. In the design of the Series 88, protection has been added to prevent huge voltage surges that would destroy most competitor modules. Now, most would say, who would even think of hot swapping...but I can think of many situations that require it.

While it is the last resort, you can do it, but I would always tell you if possible, lower the volume!

It's a very attractive console at a very good price.
It would be very interesting to see the electronic inside.
Some photos of the channel strip layout.
Personally I would like to know if it has a discrete topology or if it's an IC design. The selection, brands and specs of electrolytic and film caps, opamp, switch, potentiometers, knobs, etc.
USA manufacturing and 3 years warranty are 2 great prerogatives!!

It's a very attractive console at a very good price.
It would be very interesting to see the electronic inside.
Some photos of the channel strip layout.
Personally I would like to know if it has a discrete topology or if it's an IC design. The selection, brands and specs of electrolytic and film caps, opamp, switch, potentiometers, knobs, etc.
USA manufacturing and 3 years warranty are 2 great prerogatives!!

One thing I'm trying to get my head around is at the top of any 88c channel strip.....

the mic/line.....the two gain knobs..one labeled mic...one labelled line (as you'd expect) .....that tie to the combo in......the pr noting the interaction of the first two knobs is like there being a 20db mic pad. I don't understand that.

The additional third knob that's a line-in. I get that one.

The wording in the 88c manual regarding 20db pad effect via the first two knobs though isn't clear to me.

One thing I'm trying to get my head around is at the top of any 88c channel strip.....

the mic/line.....the two gain knobs..one labeled mic...one labelled line (as you'd expect) .....that tie to the combo in......the pr noting the interaction of the first two knobs is like there being a 20db mic pad. I don't understand that.

The additional third knob that's a line-in. I get that one.

The wording in the 88c manual regarding 20db pad effect via the first two knobs though isn't clear to me.

Basically, the 1/4" input on the XLR combo mic input allows you to run a line level signal through the Class A Discrete circuit, as well as the transformer if you have one installed. It will pad down the line input automatically as it is coming into the mic gain. This allows you to get the coloration of the Class A and transformer on the line input of the combo jack that you would not get through the standard 1/4" dedicated line input. Perhaps, if you understand a block diagram, this one will help you get your head around it.